From The Brood to Crash and new film The Shrouds, the Canadian body horror pioneer has outraged the censors and inspired countless directors
In 2021, French film-maker Julia Ducournau won the Cannes Palme d’Or with her blistering, autoerotic magnum opus Titane. It was a richly deserved victory – a celebration of a bold new voice in cinema. Yet for longstanding fans of body horror – a genre pioneered decades earlier by the Canadian writer-director David Cronenberg – it also felt like karmic payback for the festival’s botched response to Crash, Cronenberg’s controversial 1996 masterpiece, to which Titane is heavily indebted.
During a career spanning six decades and more than 20 feature films, Cronenberg, 81, has inspired everyone from Japanese auteur Shinya Tsukamoto (Tetsuo: The Iron Man) to rising British star Rose Glass. But his brilliant Jg Ballard adaptation was denied its own Palme d’Or win thanks largely to the disdain of Cannes jury president Francis Ford Coppola.
In 2021, French film-maker Julia Ducournau won the Cannes Palme d’Or with her blistering, autoerotic magnum opus Titane. It was a richly deserved victory – a celebration of a bold new voice in cinema. Yet for longstanding fans of body horror – a genre pioneered decades earlier by the Canadian writer-director David Cronenberg – it also felt like karmic payback for the festival’s botched response to Crash, Cronenberg’s controversial 1996 masterpiece, to which Titane is heavily indebted.
During a career spanning six decades and more than 20 feature films, Cronenberg, 81, has inspired everyone from Japanese auteur Shinya Tsukamoto (Tetsuo: The Iron Man) to rising British star Rose Glass. But his brilliant Jg Ballard adaptation was denied its own Palme d’Or win thanks largely to the disdain of Cannes jury president Francis Ford Coppola.
- 6/1/2024
- by Mark Kermode
- The Guardian - Film News
Vanity Fair France has commented after editing a photo of Guy Pearce at the Cannes Film Festival wearing a pin of the Palestinian flag.
Pearce appeared at the film festival to support his new film, The Shrouds. During the red carpet premiere, the actor wore a pin supporting Palestine.
The actor posed for a portrait to be featured in Vanity Fair France and later appeared in an Instagram post. However, the magazine’s website shared a modified version of the picture. Social media users noticed Vanity Fair France edited out Pearce’s pin.
After an uproar, Vanity Fair France issued an apology on X, the microblogging site formerly known as Twitter.
“Good evening. We have mistakenly published a modified version of this photo on the site. The original version was posted on Instagram the same day. We have rectified our mistake and we apologize,” read the apology from Vanity Fair France.
Pearce appeared at the film festival to support his new film, The Shrouds. During the red carpet premiere, the actor wore a pin supporting Palestine.
The actor posed for a portrait to be featured in Vanity Fair France and later appeared in an Instagram post. However, the magazine’s website shared a modified version of the picture. Social media users noticed Vanity Fair France edited out Pearce’s pin.
After an uproar, Vanity Fair France issued an apology on X, the microblogging site formerly known as Twitter.
“Good evening. We have mistakenly published a modified version of this photo on the site. The original version was posted on Instagram the same day. We have rectified our mistake and we apologize,” read the apology from Vanity Fair France.
- 5/29/2024
- by Armando Tinoco
- Deadline Film + TV
“I’ve been to Cannes with films that won the Palme D’or; others have done quite well, and some have really not done well. I know the A to Z of Cannes emotions — but it’s always such a pleasure to be there. And it’s very important to this art form that we all love.”
Important words from Kinds of Kindness star Willem Dafoe about how it really feels to attend the world’s most iconic film festival as a veteran who has fielded varying levels of kindness from the Cannes crowd over the years — not to mention differing durations of those much buzzed-about standing ovations.
As the 77th edition comes to a close, emotions were high and the love for the art form seemed stronger than ever as auteurs, stars, glitterati and industry insiders converged in the South of France for nearly two weeks of cinematic adventures...
Important words from Kinds of Kindness star Willem Dafoe about how it really feels to attend the world’s most iconic film festival as a veteran who has fielded varying levels of kindness from the Cannes crowd over the years — not to mention differing durations of those much buzzed-about standing ovations.
As the 77th edition comes to a close, emotions were high and the love for the art form seemed stronger than ever as auteurs, stars, glitterati and industry insiders converged in the South of France for nearly two weeks of cinematic adventures...
- 5/29/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
Vanity Fair France has apologized for publishing a photo in which a Palestine pin that Guy Pearce was wearing on his suit was edited out (via CNN). Pearce attended this year’s Cannes Film Festival for David Cronenberg’s competition entry “The Shrouds,” in which he stars opposite Vincent Cassel and Diane Kruger. Pearce was one of many festival stars to have his portrait taken and published by Vanity Fair France, but the photo online did not include the Palestinian flag pin the actor wore throughout the festival.
As reported by CNN: “A small Palestinian flag pin, which Pearce had been wearing on his lapel throughout Cannes, was missing from the photograph [on the publication’s website], though a different photo, featuring the pin, was posted to the magazine’s Instagram the same day the article published. A white, red, black and green bracelet — the colors of the Palestinian flag — was still visible on his wrist.
As reported by CNN: “A small Palestinian flag pin, which Pearce had been wearing on his lapel throughout Cannes, was missing from the photograph [on the publication’s website], though a different photo, featuring the pin, was posted to the magazine’s Instagram the same day the article published. A white, red, black and green bracelet — the colors of the Palestinian flag — was still visible on his wrist.
- 5/29/2024
- by Zack Sharf
- Variety Film + TV
Illustrations by Maddie Fischer.As part of our Cannes 2024 coverage, we invited critics and programmers to share their thoughts on one moment from a film they've seen at the festival so far.Sign up for the Weekly Edit to receive exclusive reports from the Croisette straight to your inbox.Miriam BaleElizabeth Taylor: The Lost Tapes by Nanette Burstein (co-director of The Kid Stays in the Picture) is in some ways a straightforward chronological documentary of the movie star's fascinating, tabloid-centric life. What makes the film formally interesting, though, is the separation of voice and image. Burstein’s reliance on audio recordings of Taylor made in 1964 and 1985 foregrounds her remarkable voice over her blinding beauty, seen in stills and film clips. Taylor's voice, even at ages 32 and 53, can range from girlish and flirtatious to bawdy and shrill, sometimes within the same statement. When she describes how the AIDS crisis led...
- 5/29/2024
- MUBI
Ioncinema.com’s Chief Film Critic Nicholas Bell reviewed the entire competition and more. Here is a comprehensive guide to all the feature films across all sections, including logged reviews and forthcoming ones. Though Cannes might be over, we still have unpublished reviews that will be released over the next month.
In Competition:
All We Imagine as Light – [Review]
Anora – [Review]
The Apprentice – [Review]
Beating Hearts – [Review]
Bird – [Review]
Caught by the Tides – [Review]
Emilia Pérez – [Review]
The Girl with the Needle – [Review]
Grand Tour – [Review]
Kinds of Kindness – [Review]
Limonov: The Ballad – [Review]
Marcello Mio – [Review]
Megalopolis – [Review]
The Most Precious of Cargoes – [Review]
Motel Destino – [Review]
Oh, Canada – [Review]
Parthenope – [Review]
The Seed of the Sacred Fig – [Review]
The Shrouds – [Review]
The Substance – [Review]
Three Kilometres to the End of the World – [Review]
Wild Diamond – [Review]
Un Certain Regard:
Armand
Black Dog
The Damned – [Review]
Dog on Trial
Flow
Holy Cow – [Review]
The Kingdom
My Sunshine
Niki
Norah
On Becoming a Guinea Fowl
Santosh
September Says
The Shameless
The Story of Souleymane...
In Competition:
All We Imagine as Light – [Review]
Anora – [Review]
The Apprentice – [Review]
Beating Hearts – [Review]
Bird – [Review]
Caught by the Tides – [Review]
Emilia Pérez – [Review]
The Girl with the Needle – [Review]
Grand Tour – [Review]
Kinds of Kindness – [Review]
Limonov: The Ballad – [Review]
Marcello Mio – [Review]
Megalopolis – [Review]
The Most Precious of Cargoes – [Review]
Motel Destino – [Review]
Oh, Canada – [Review]
Parthenope – [Review]
The Seed of the Sacred Fig – [Review]
The Shrouds – [Review]
The Substance – [Review]
Three Kilometres to the End of the World – [Review]
Wild Diamond – [Review]
Un Certain Regard:
Armand
Black Dog
The Damned – [Review]
Dog on Trial
Flow
Holy Cow – [Review]
The Kingdom
My Sunshine
Niki
Norah
On Becoming a Guinea Fowl
Santosh
September Says
The Shameless
The Story of Souleymane...
- 5/28/2024
- by Eric Lavallée
- IONCINEMA.com
The big winners out of the 2024 Cannes Film Festival suggest bright times ahead for indie and international moviegoing. Sean Baker’s “Anora” winning the Palme was a kind of apotheosis for the self-made indie filmmaker. And Neon already has the movie for U.S. distribution — the company’s fifth Palme d’Or winner in a row. Meanwhile, other Cannes winners like “Emilia Pérez” (Netflix), “All We Imagine as Light” (Sideshow/Janus), and “The Seed of the Sacred Fig” (Neon) have homes awaiting them on the other side of their journeys out of Cannes and into the world.
But in a compressed time for film sales across fiction and nonfiction titles, that means plenty of movies that premiered at Cannes are still searching for a home. And what a world where the latest film from two-time Palme d’Or winner Francis Ford Coppola is among them (“Megalopolis”). Same with David Cronenberg...
But in a compressed time for film sales across fiction and nonfiction titles, that means plenty of movies that premiered at Cannes are still searching for a home. And what a world where the latest film from two-time Palme d’Or winner Francis Ford Coppola is among them (“Megalopolis”). Same with David Cronenberg...
- 5/28/2024
- by Ryan Lattanzio and David Ehrlich
- Indiewire
The ShroudsImage: Cinetic Media
I’ve experienced a rare thing with regards to David Cronenberg’s latest film, The Shrouds, particularly during festival time. As it’s a Canadian film, one of several that premiered this year in Cannes, I got to screen it a few days before flying to France.
I’ve experienced a rare thing with regards to David Cronenberg’s latest film, The Shrouds, particularly during festival time. As it’s a Canadian film, one of several that premiered this year in Cannes, I got to screen it a few days before flying to France.
- 5/28/2024
- by Jason Gorber
- avclub.com
Disappointment hung in the air a few days into the 2024 Cannes Film Festival when no main competition films had universally wowed industry and press. But you have to know where to look, which often means going outside the official selection and into sidebars like Un Certain Regard and Directors’ Fortnight in search of gems.
By the end of the festival, though, more than a few stunners had emerged. The competition’s final days brought a series of potentially historic and beloved-on-the-ground Palme contenders: Mohammad Rasolouf’s searing Iranian drama “The Seed of the Sacred Fig,” Payal Kapadia’s day-in-the-life Mumbai portrait “All We Imagine as Light,” and Sean Baker’s wild and crazy sex worker odyssey “Anora.”
Elsewhere, movies like Matthew Rankin’s Abbas Kiarostami homage “Universal Language” and Mahdi Fleifel’s “To a Land Unknown,” the only Palestinian movie to play Cannes this year, impressed in Directors’ Fortnight, the...
By the end of the festival, though, more than a few stunners had emerged. The competition’s final days brought a series of potentially historic and beloved-on-the-ground Palme contenders: Mohammad Rasolouf’s searing Iranian drama “The Seed of the Sacred Fig,” Payal Kapadia’s day-in-the-life Mumbai portrait “All We Imagine as Light,” and Sean Baker’s wild and crazy sex worker odyssey “Anora.”
Elsewhere, movies like Matthew Rankin’s Abbas Kiarostami homage “Universal Language” and Mahdi Fleifel’s “To a Land Unknown,” the only Palestinian movie to play Cannes this year, impressed in Directors’ Fortnight, the...
- 5/27/2024
- by Ryan Lattanzio and David Ehrlich
- Indiewire
David Cronenberg is one of our greatest living directors; a Canadian auteur who made a name for himself with body horror masterpieces like "Scanners," "The Fly," and "Videodrome," just to name a few. And every now and then, Cronenberg will step in front of the camera, too. He has a memorable supporting turn as the villain in Clive Barker's "Nightbreed." And he has cameos in films such as "To Die For" and "Jason X." He also appeared in several seasons of "Star Trek: Discovery" as the character Doctor Kovich.
With Cronenberg having spent so much time on the series, you might have wondered: why didn't he direct any episodes? He is, after all, a director first, actor second. Well, according to Cronenberg himself, it's not a gig he's particularly interested in. When asked by StarTrek.com what would happen if he was asked to direct an episode of the show,...
With Cronenberg having spent so much time on the series, you might have wondered: why didn't he direct any episodes? He is, after all, a director first, actor second. Well, according to Cronenberg himself, it's not a gig he's particularly interested in. When asked by StarTrek.com what would happen if he was asked to direct an episode of the show,...
- 5/27/2024
- by Chris Evangelista
- Slash Film
George Lucas and Francis Ford Coppola reflected on their lifelong bond as the “Megalopolis” director presented the “Star Wars” visionary with Cannes Film Festival’s honorary Palme d’Or on Saturday night.
Before Lucas received the award, he was greeted in the theater by a several-minute standing ovation, during which he gave the crowd a thumbs-up and got a little teary-eyed. When Coppola came on stage, the two embraced and exchanged some private remarks.
In his speech, Coppola recalled his first meeting with Lucas, who shadowed him on the set of his film “Finian’s Rainbow” in 1968.
“Pleased to have someone in my own generation, I suggested he come every day, but only on one condition: That he come up with a brilliant suggestion every day, which he consistently did. And with that began an association that has lasted a lifetime,” Coppola said. “And he went on and on, making film history,...
Before Lucas received the award, he was greeted in the theater by a several-minute standing ovation, during which he gave the crowd a thumbs-up and got a little teary-eyed. When Coppola came on stage, the two embraced and exchanged some private remarks.
In his speech, Coppola recalled his first meeting with Lucas, who shadowed him on the set of his film “Finian’s Rainbow” in 1968.
“Pleased to have someone in my own generation, I suggested he come every day, but only on one condition: That he come up with a brilliant suggestion every day, which he consistently did. And with that began an association that has lasted a lifetime,” Coppola said. “And he went on and on, making film history,...
- 5/25/2024
- by Ellise Shafer
- Variety Film + TV
After two weeks of nonstop cinema, the moment of truth finally arrived. The winners of the 77th Cannes Film Festival were announced at a gala ceremony on Saturday night.
The Palme d’Or, the fest’s top honor, went to Sean Baker’s sex worker screwball comedy Anora. A nervous and shaking Baker took the stage and thanked the jury, saying he still “couldn’t believe it.” Baker said winning Cannes’ top prize has been “my singular goal as a filmmaker for the past 30 years.”
Baker also singled out Francis Ford Coppola and David Cronenberg, two veteran directors with films in Cannes competition this year, as major inspirations. Baker has come far, going from shooting his 2015 feature Tangerine on an iPhone5s to winning the Palme d’Or. He is the first American director to win the Palme since Terrence Malick for The Tree of Life in 2011.
Commenting on the jury’s decision,...
The Palme d’Or, the fest’s top honor, went to Sean Baker’s sex worker screwball comedy Anora. A nervous and shaking Baker took the stage and thanked the jury, saying he still “couldn’t believe it.” Baker said winning Cannes’ top prize has been “my singular goal as a filmmaker for the past 30 years.”
Baker also singled out Francis Ford Coppola and David Cronenberg, two veteran directors with films in Cannes competition this year, as major inspirations. Baker has come far, going from shooting his 2015 feature Tangerine on an iPhone5s to winning the Palme d’Or. He is the first American director to win the Palme since Terrence Malick for The Tree of Life in 2011.
Commenting on the jury’s decision,...
- 5/25/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Sean Baker’s “Anora” has won the Palme d’Or at the 2024 Cannes Film Festival, a jury headed by Greta Gerwig announced on Saturday.
The win for Baker’s freewheeling film about a stripper and the son of a Russian oligarch becomes the fifth consecutive Palme winner to be distributed by Neon, which previously handled “Anatomy of a Fall,” “The Triangle of Sadness,” “Titane” and “Parasite.”
TheWrap’s review said of the film, “It’s one of the most entertaining movies to play in Cannes this year, and also one of the most confounding: part character study of the title character (Mikey Madison), a sex worker from Brighton Beach who falls for rich Russian playboy Ivan (Mark Eydelshteyn); part look into the world of the super-rich, an arena Baker has studiously avoided in films like ‘Tangerine,’ ‘The Florida Project’ and ‘Red Rocket’; part escalating nightmare comedy reminiscent of ’80s gems...
The win for Baker’s freewheeling film about a stripper and the son of a Russian oligarch becomes the fifth consecutive Palme winner to be distributed by Neon, which previously handled “Anatomy of a Fall,” “The Triangle of Sadness,” “Titane” and “Parasite.”
TheWrap’s review said of the film, “It’s one of the most entertaining movies to play in Cannes this year, and also one of the most confounding: part character study of the title character (Mikey Madison), a sex worker from Brighton Beach who falls for rich Russian playboy Ivan (Mark Eydelshteyn); part look into the world of the super-rich, an arena Baker has studiously avoided in films like ‘Tangerine,’ ‘The Florida Project’ and ‘Red Rocket’; part escalating nightmare comedy reminiscent of ’80s gems...
- 5/25/2024
- by Steve Pond
- The Wrap
Mohammad Rasoulof’s “The Seed of the Sacred Fig” has a lot going for it on the way to a potential Palme d’Or win: strong reviews, an anguished political call-out against Iranian oppression, and Rasoulof’s own status as an exile who just fled his home country and was finally able to attend Cannes after all. (Read our interview with the director here.)
On the steps of the Palais for Friday’s premiere, Rasoulof held up photos of two of the actors — Misagh Zare and Soheila Golestani – banned from leaving Iran to attend the festival. He’s already shared how the Islamic Republic has been pressuring his crew into convincing Cannes to drop the film, which charts the breakdown of a family after a Revolutionary Court judge’s gun goes missing, from its lineup. This is Rasoulof’s first time in competition. He previously won prizes in Un Certain...
On the steps of the Palais for Friday’s premiere, Rasoulof held up photos of two of the actors — Misagh Zare and Soheila Golestani – banned from leaving Iran to attend the festival. He’s already shared how the Islamic Republic has been pressuring his crew into convincing Cannes to drop the film, which charts the breakdown of a family after a Revolutionary Court judge’s gun goes missing, from its lineup. This is Rasoulof’s first time in competition. He previously won prizes in Un Certain...
- 5/24/2024
- by Ryan Lattanzio
- Indiewire
“Screen Talk: went live at the American Pavilion in Cannes this year and drew a lively crowd. Anne Thompson raved about one of the big-epic Hollywood titles playing out of competition, George Miller’s prequel “Furiosa” (Warner Bros.), starring Anya Taylor-Joy in the title role, which opens May 14, while both Thompson and cohost Ryan Lattanzio panned Kevin Costner’s old-fashioned three-hour Western “Horizon: An American Saga – Chapter One” (Warner Bros.).
They both agree that this vanity project makes mad genius Francis Coppola’s self-funded $120 million “Megalopolis” look brilliant by comparison. Even if the Competition title is “unhinged,” at least he’s treading new ground, unlike Costner, who has spent some $100 million so far for the first two chapters of a planned four (the second part releases August 16). Coppola still awaits a North American buyer.
Both hosts admire Jacques Audiard’s Competition title “Emilia Perez,” a Spanish-language musical shot in Mexico...
They both agree that this vanity project makes mad genius Francis Coppola’s self-funded $120 million “Megalopolis” look brilliant by comparison. Even if the Competition title is “unhinged,” at least he’s treading new ground, unlike Costner, who has spent some $100 million so far for the first two chapters of a planned four (the second part releases August 16). Coppola still awaits a North American buyer.
Both hosts admire Jacques Audiard’s Competition title “Emilia Perez,” a Spanish-language musical shot in Mexico...
- 5/24/2024
- by Ryan Lattanzio and Anne Thompson
- Indiewire
For decades, Paul Schrader’s taste in cinema has been widely known, particularly the Bressonian proclivities he’s repeatedly worked over—and, especially since becoming a Facebook poster, he’s provided an open invitation to make his problems ours as well. Watching Oh, Canada knowing of his recent health scares, my guess was that the topical draw of Russell Banks’s source novel Foregone was death; indeed, after several hospitalizations for long Covid, Schrader told himself, “If I’m going to make a film about death, I’d better hurry up.” Thus Oh, Canada, which reteams Schrader with his American Gigolo star Richard Gere (the writer-director jokes […]
The post Cannes 2024: Oh, Canada and The Shrouds first appeared on Filmmaker Magazine.
The post Cannes 2024: Oh, Canada and The Shrouds first appeared on Filmmaker Magazine.
- 5/24/2024
- by Vadim Rizov
- Filmmaker Magazine - Blog
For decades, Paul Schrader’s taste in cinema has been widely known, particularly the Bressonian proclivities he’s repeatedly worked over—and, especially since becoming a Facebook poster, he’s provided an open invitation to make his problems ours as well. Watching Oh, Canada knowing of his recent health scares, my guess was that the topical draw of Russell Banks’s source novel Foregone was death; indeed, after several hospitalizations for long Covid, Schrader told himself, “If I’m going to make a film about death, I’d better hurry up.” Thus Oh, Canada, which reteams Schrader with his American Gigolo star Richard Gere (the writer-director jokes […]
The post Cannes 2024: Oh, Canada and The Shrouds first appeared on Filmmaker Magazine.
The post Cannes 2024: Oh, Canada and The Shrouds first appeared on Filmmaker Magazine.
- 5/24/2024
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
David Cronenberg always makes personal cinema, whether telepodding Jeff Goldblum into a human-sized pest in “The Fly” or asking James Spader to fuck a gaping flesh wound in “Crash.” The Canadian filmmaker will never tell you what makes his body horror classics so close to home, but he doesn’t feel it should matter to viewers anyway.
“For an average audience, they shouldn’t have to know that,” Cronenberg, behind oversized Saint Laurent sunglasses, told IndieWire at Cannes on a windy day atop the Jw Marriott. “They shouldn’t have to know that it has any basis in my reality at all. The movie has to stand on its own, and you can’t expect the audience to give you credit because it’s really happened to you.”
But his latest film “The Shrouds,” his seventh to compete for the Palme d’Or at Cannes and a co-production of fashion house Saint Laurent,...
“For an average audience, they shouldn’t have to know that,” Cronenberg, behind oversized Saint Laurent sunglasses, told IndieWire at Cannes on a windy day atop the Jw Marriott. “They shouldn’t have to know that it has any basis in my reality at all. The movie has to stand on its own, and you can’t expect the audience to give you credit because it’s really happened to you.”
But his latest film “The Shrouds,” his seventh to compete for the Palme d’Or at Cannes and a co-production of fashion house Saint Laurent,...
- 5/23/2024
- by Ryan Lattanzio
- Indiewire
Deadline photo studio hosted talent at the 77th annual Cannes Film Festival, as cast members of Cannes premiering films stopped by including David Cronenberg and Vincent Cassel for The Shrouds; Cayden Wyatt Costner, Jena Malone, Isabelle Fuhrman, Abbey Lee, Kevin Costner, Sienna Miller, Ella Hunt, Wase Chief, Georgia MacPhail, and Luke Wilson from Horizon: An American Saga, with Galen Johnson, Cate Blanchett, Guy Maddin and Evan Johnson attending for Rumours.
Sarocha Chankimha, Ramata-Toulaye Sy, Aseel Omran attended for Rsiff Women in Cinema; Francis Ford Coppola and Nathalie Emmanuel from Megalopolis; Willem Dafoe, Hong Chau, Hunter Schafer, Margaret Qualley and Mamoudou Athie for Kinds of Kindness; Ron Howard for Jim Henson Idea Man, George Miller, Anya Taylor-Joy, Chris Hemsworth and Tom Burke of Furiosa: A Mad Max Saga and many more.
Related: Cannes 2024 in Photos: Parties, Premieres, Pressers & More
The Deadline Studio at Cannes will run from May 14-22, where the...
Sarocha Chankimha, Ramata-Toulaye Sy, Aseel Omran attended for Rsiff Women in Cinema; Francis Ford Coppola and Nathalie Emmanuel from Megalopolis; Willem Dafoe, Hong Chau, Hunter Schafer, Margaret Qualley and Mamoudou Athie for Kinds of Kindness; Ron Howard for Jim Henson Idea Man, George Miller, Anya Taylor-Joy, Chris Hemsworth and Tom Burke of Furiosa: A Mad Max Saga and many more.
Related: Cannes 2024 in Photos: Parties, Premieres, Pressers & More
The Deadline Studio at Cannes will run from May 14-22, where the...
- 5/22/2024
- by Robert Lang
- Deadline Film + TV
In his late career resurgence with Crimes of the Future having been showcased in the comp in 2022, David Cronenberg makes his entrance with The Shrouds (aka Les Linceuls) – a Canada-France co-production. Having been here before for Crash (1996), Spider (2002), A History of Violence (2005), Cosmopolis (2012) and Maps to the Stars (2014), the filmmaker reunites with Vincent Cassel and makes it a first with Diane Kruger and Guy Pearce.
Gist: Karsh (Cassel) is a prominent businessman. Inconsolable since the death of his wife, he invents GraveTech, revolutionary and controversial technology that enables the living to monitor their dear departed in their shrouds.…...
Gist: Karsh (Cassel) is a prominent businessman. Inconsolable since the death of his wife, he invents GraveTech, revolutionary and controversial technology that enables the living to monitor their dear departed in their shrouds.…...
- 5/22/2024
- by Eric Lavallée
- IONCINEMA.com
David Cronenberg’s films have often imagined a future where technology would find a way into our collective id. 55 years into the director’s incomparable career, might that future have finally caught up with him? In Cronenberg’s new film––the slick, scrambled The Shrouds––there are two barely speculative conceits: that an AI chatbot could be designed to look like a recently deceased love one; and primarily, that a company might have the bright idea to wrap a blanket of HD cameras around our nearest and dearest before they’re sent six-feet-under, allowing us to check in on their decaying corpse, all with the click of an app.
If that sounds a little unambitious by the Canadian’s standards, the director––whose wife of 43 years, Carolyn, died in 2017 after a battle with cancer––has his reasons. If “grief is forever,” as the director said before the premiere in Cannes,...
If that sounds a little unambitious by the Canadian’s standards, the director––whose wife of 43 years, Carolyn, died in 2017 after a battle with cancer––has his reasons. If “grief is forever,” as the director said before the premiere in Cannes,...
- 5/21/2024
- by Rory O'Connor
- The Film Stage
Death Be Not Shroud: Cronenberg Hits Dead Ends in Sluggish Mystery
The burial business serves as the battle ground for a complicated conundrum in David Cronenberg’s latest, The Shrouds, a glum examination marrying death and technology. Once again, Cronenberg’s central protagonist navigates a ruinous obsession with bodies, but this time the horror deals with the last stop on life’s night train. Vincent Cassel, who reunites with the director after a memorable supporting role in 2007’s Eastern Promises, is a man so preoccupied with his late wife’s body he’s developed a technology which allows loved ones to peek into the coffin indefinitely, to witness the decomposition of the body via a monitor built into headstones operated by apps on their cell phones.…...
The burial business serves as the battle ground for a complicated conundrum in David Cronenberg’s latest, The Shrouds, a glum examination marrying death and technology. Once again, Cronenberg’s central protagonist navigates a ruinous obsession with bodies, but this time the horror deals with the last stop on life’s night train. Vincent Cassel, who reunites with the director after a memorable supporting role in 2007’s Eastern Promises, is a man so preoccupied with his late wife’s body he’s developed a technology which allows loved ones to peek into the coffin indefinitely, to witness the decomposition of the body via a monitor built into headstones operated by apps on their cell phones.…...
- 5/21/2024
- by Nicholas Bell
- IONCINEMA.com
There was an eight-year gap between the release of David Cronenberg’s “Maps to the Stars” and “Crimes of the Future.” Thankfully, we didn’t have to wait that long for his newest feature, “The Shrouds.”
Read More: ‘The Shrouds’ Review: David Cronenberg Digs Into The Core Of How Messy Grief Can Be [Cannes]
With “The Shrouds” debuting at Cannes, we now have our first teaser for the sci-fi drama from director David Cronenberg.
Continue reading ‘The Shrouds’ Teaser: David Cronenberg’s Sci-Fi Drama Stars Vincent Cassel & Diane Kruger at The Playlist.
Read More: ‘The Shrouds’ Review: David Cronenberg Digs Into The Core Of How Messy Grief Can Be [Cannes]
With “The Shrouds” debuting at Cannes, we now have our first teaser for the sci-fi drama from director David Cronenberg.
Continue reading ‘The Shrouds’ Teaser: David Cronenberg’s Sci-Fi Drama Stars Vincent Cassel & Diane Kruger at The Playlist.
- 5/21/2024
- by Martin Miller
- The Playlist
David Cronenberg is a filmmaker who has created his own brands of sci-fi for quite some time. But even a filmmaker like Cronenberg, someone who has dreamed up what the future could look like, is amazed at what technology is capable of today, specifically artificial intelligence (A.I.).
Speaking at the Cannes Film Festival (via Deadline), where he recently premiered his latest sci-fi feature, “The Shrouds,” David Cronenberg talked about the emergence of A.I.
Continue reading David Cronenberg Believes A.I. In The Film Industry Could Mean That “The Whole Idea Of Productions & Actors Could Be Gone” at The Playlist.
Speaking at the Cannes Film Festival (via Deadline), where he recently premiered his latest sci-fi feature, “The Shrouds,” David Cronenberg talked about the emergence of A.I.
Continue reading David Cronenberg Believes A.I. In The Film Industry Could Mean That “The Whole Idea Of Productions & Actors Could Be Gone” at The Playlist.
- 5/21/2024
- by Martin Miller
- The Playlist
Iconic directors named David haven’t been having the best luck with the Netflix streaming service lately. David Lynch recently revealed that Snootworld, an animated movie he hopes to make, had been rejected by Netflix, and now David Cronenberg has said that his new film The Shrouds – which just made its premiere at the Cannes Film Festival (you can read some of the first reactions Here) – was originally intended to be a Netflix TV series, but the streamer dropped it after paying him to write the pilot episode.
During a press conference at Cannes, Cronenberg said (according to The Hollywood Reporter) that he “envisioned the story working well as a series. He flew to Los Angeles to speak with two Netflix execs who financed the writing of a first episode – which they loved. But after the second, they did not want to go any further.” Cronenberg went on to say,...
During a press conference at Cannes, Cronenberg said (according to The Hollywood Reporter) that he “envisioned the story working well as a series. He flew to Los Angeles to speak with two Netflix execs who financed the writing of a first episode – which they loved. But after the second, they did not want to go any further.” Cronenberg went on to say,...
- 5/21/2024
- by Cody Hamman
- JoBlo.com
Ali Abbasi’s The Apprentice has failed to impress the critics on Screen’s Cannes jury grid, recording the lowest score so far this year of 1.7.
The film tells Donald Trump’s origin story, with Sebastian Stan playing the future president and Jeremy Strong his ruthless lawyer and mentor Roy Cohn.
It earned eight scores of two (average), plus two ones (poor) and a zero (bad) from Mathieu Macharet at France’s Le Monde.
Click on the jury grid above for the most up-to-date version.
With a 1.7, it is just below Paul Schrader’s Oh, Canada, which previously occupied the...
The film tells Donald Trump’s origin story, with Sebastian Stan playing the future president and Jeremy Strong his ruthless lawyer and mentor Roy Cohn.
It earned eight scores of two (average), plus two ones (poor) and a zero (bad) from Mathieu Macharet at France’s Le Monde.
Click on the jury grid above for the most up-to-date version.
With a 1.7, it is just below Paul Schrader’s Oh, Canada, which previously occupied the...
- 5/21/2024
- ScreenDaily
David Cronenberg has opened up on putting his film The Shrouds to Netflix executives as a television series, who greenlit writing a first episode before rejecting the director’s project.
The sci-fi drama, which aired in Cannes to a three-and-a-half minute applause before Cronenberg spoke to the audience, follows Karsh (Vincent Cassel), a prominent businessman and widower who, inconsolable since the death of his wife (Diane Kruger) invents a revolutionary and controversial technology that enables the living to monitor the decomposition of deceased loved ones in their graves.
Cronenberg spoke at Cannes’ press conference for the film on Tuesday, explaining how he envisioned the story working well as a series. He flew to Los Angeles to speak with two Netflix execs who financed the writing of a first episode – which they loved. But after the second, they did not want to go any further.
“They said – and this is a...
The sci-fi drama, which aired in Cannes to a three-and-a-half minute applause before Cronenberg spoke to the audience, follows Karsh (Vincent Cassel), a prominent businessman and widower who, inconsolable since the death of his wife (Diane Kruger) invents a revolutionary and controversial technology that enables the living to monitor the decomposition of deceased loved ones in their graves.
Cronenberg spoke at Cannes’ press conference for the film on Tuesday, explaining how he envisioned the story working well as a series. He flew to Los Angeles to speak with two Netflix execs who financed the writing of a first episode – which they loved. But after the second, they did not want to go any further.
“They said – and this is a...
- 5/21/2024
- by Lily Ford
- The Hollywood Reporter - Movie News
David Cronenberg weighed the pros and cons of artificial intelligence in filmmaking at the Cannes Film Festival press conference for his latest film, “The Shrouds,” on Tuesday.
Though Cronenberg said that technological advancements like CGI have “made filmmaking much easier” in terms of tasks like removing coffee cups from footage, he admitted that it’s “quite shocking … to see what can be done even now with the beginnings of artificial intelligence.”
Speaking of Sora, the new AI software that can generate motion pictures, Cronenberg said it has the potential to “completely transform the act of writing and directing.”
“You can imagine a screenwriter sitting there, writing the movie, and if that person can write it in enough detail, the movie will appear. The whole idea of actors and production will be gone. That’s the promise and the threat of artificial intelligence,” he said. “Do we welcome that? Do we fear that?...
Though Cronenberg said that technological advancements like CGI have “made filmmaking much easier” in terms of tasks like removing coffee cups from footage, he admitted that it’s “quite shocking … to see what can be done even now with the beginnings of artificial intelligence.”
Speaking of Sora, the new AI software that can generate motion pictures, Cronenberg said it has the potential to “completely transform the act of writing and directing.”
“You can imagine a screenwriter sitting there, writing the movie, and if that person can write it in enough detail, the movie will appear. The whole idea of actors and production will be gone. That’s the promise and the threat of artificial intelligence,” he said. “Do we welcome that? Do we fear that?...
- 5/21/2024
- by Ellise Shafer
- Variety Film + TV
When it comes to whether AI is friend or foe, particularly in regards to its place in the film industry, David Cronenberg is both intrigued and terrified.
“What do we do? I have no idea,” the Canadian horror sci-fi maestro said Tuesday at the Cannes Film Festival, the day after the world premiere of his new film The Shrouds.
Cronenberg’s techno forward-looking yet eerily dystopian The Shrouds follows Karsh (Vincent Cassel), an innovative businessman and grieving widower, who builds a device to connect with the dead inside a burial shroud. There’s a moment in the film that deals with AI. Guy Pearce‘s character Maury, has set-up Karsh’s computer. Maury claims to live inside it, along with blonde Hunny the AI bot that does Karsh’s admin.
Diane Kruger and Sandrine Holt also star.
Cronenberg said today he is rather amazed at AI’s powers in filmmaking.
“What do we do? I have no idea,” the Canadian horror sci-fi maestro said Tuesday at the Cannes Film Festival, the day after the world premiere of his new film The Shrouds.
Cronenberg’s techno forward-looking yet eerily dystopian The Shrouds follows Karsh (Vincent Cassel), an innovative businessman and grieving widower, who builds a device to connect with the dead inside a burial shroud. There’s a moment in the film that deals with AI. Guy Pearce‘s character Maury, has set-up Karsh’s computer. Maury claims to live inside it, along with blonde Hunny the AI bot that does Karsh’s admin.
Diane Kruger and Sandrine Holt also star.
Cronenberg said today he is rather amazed at AI’s powers in filmmaking.
- 5/21/2024
- by Anthony D'Alessandro
- Deadline Film + TV
by Cláudio Alves
I can't wait to plunge into the enigmas of The Shrouds.
Another day, another lackluster reception to a highly anticipated Cannes title. Ali Abbasi's Donald Trump film, The Apprentice, seems neither thrilling nor especially deep, with various comparisons to Wikipedia entries throughout naysayer's reviews. At least, its cast got general praise, with highest honors to Jeremy Strong as Roy Cohn. Then again, it did receive one of the festival's longest standing ovations yet, so make of that what you will. On a more somber note, David Cronenberg's The Shrouds is being described as the director's most transparent movie, laying bare the grief of an artist dealing with his wife's passing. In a recent interview, the Canadian master described cinema as a cemetery, and it seems his latest work follows that idea to literal ends.
For the Cannes at Home odyssey, let's examine two horrors from...
I can't wait to plunge into the enigmas of The Shrouds.
Another day, another lackluster reception to a highly anticipated Cannes title. Ali Abbasi's Donald Trump film, The Apprentice, seems neither thrilling nor especially deep, with various comparisons to Wikipedia entries throughout naysayer's reviews. At least, its cast got general praise, with highest honors to Jeremy Strong as Roy Cohn. Then again, it did receive one of the festival's longest standing ovations yet, so make of that what you will. On a more somber note, David Cronenberg's The Shrouds is being described as the director's most transparent movie, laying bare the grief of an artist dealing with his wife's passing. In a recent interview, the Canadian master described cinema as a cemetery, and it seems his latest work follows that idea to literal ends.
For the Cannes at Home odyssey, let's examine two horrors from...
- 5/21/2024
- by Cláudio Alves
- FilmExperience
David Cronenberg’s The Shrouds recently premiered at the Cannes Film Festival, and the reviews have begun to emerge. The film follows a businessman and grieving widower who invents a controversial technology known as Gravetech that allows families to see inside the graves of their loved ones as they decompose. Although known as the master of body horror, fans shouldn’t expect too much of that as Cronenberg’s latest is a much more personal film. The Shrouds is at least partly inspired by the death of his wife, Carolyn Cronenberg, in 2017.
THR‘s Leslie Felperin said, “This fetid stew of sex, death and tech may be an aphrodisiac for hardcore Cronenberg fans, but more casual viewers are likely to find it all rather slapdash and undercooked here. Cinematographer Douglas Koch’s lighting looks drabber than usual, and many of the scenes feel like the first or second take after a long day’s filming,...
THR‘s Leslie Felperin said, “This fetid stew of sex, death and tech may be an aphrodisiac for hardcore Cronenberg fans, but more casual viewers are likely to find it all rather slapdash and undercooked here. Cinematographer Douglas Koch’s lighting looks drabber than usual, and many of the scenes feel like the first or second take after a long day’s filming,...
- 5/20/2024
- by Kevin Fraser
- JoBlo.com
The Cannes audience gave a respectful embrace to David Cronenberg’s chilly drama The Shrouds, the latest from the Canadian king of horror.
Cronenberg joined castmembers Vincent Cassel, Diane Kruger, Guy Pearce, Sandrine Holt and Elizabeth Saunders to hit the Croisette for the film’s premiere Monday. Cronenberg rocked the red carpet wearing a pair of white rimmed wrap-around 1990s-style plastic sunglasses.
The film was met with applause that went on for three and a half minutes before Cronenberg put an end to it by taking the mic and thanking the crowd. The director explained that it was the first time he had seen the movie with an audience and added, “And it is completely different.”
Its reception was rather reserved, perhaps in keeping with the film’s subject matter of grief and death. The connection to the director’s own experience was made clear with Cassel’s character Karsh,...
Cronenberg joined castmembers Vincent Cassel, Diane Kruger, Guy Pearce, Sandrine Holt and Elizabeth Saunders to hit the Croisette for the film’s premiere Monday. Cronenberg rocked the red carpet wearing a pair of white rimmed wrap-around 1990s-style plastic sunglasses.
The film was met with applause that went on for three and a half minutes before Cronenberg put an end to it by taking the mic and thanking the crowd. The director explained that it was the first time he had seen the movie with an audience and added, “And it is completely different.”
Its reception was rather reserved, perhaps in keeping with the film’s subject matter of grief and death. The connection to the director’s own experience was made clear with Cassel’s character Karsh,...
- 5/20/2024
- by Scott Roxborough and Patrick Brzeski
- The Hollywood Reporter - Movie News
David Cronenberg’s “The Shrouds,” the horror auteur’s latest film about a widow who invents technology to see inside his late wife’s grave, received a 3.5-minute standing ovation at its Cannes premiere on Monday night.
The crowd showed their respect for the Cannes legend with applause after the credits rolled, but it was lackluster as audience members digested the film, which is a departure from Cronenberg’s usual out-of-the-box body horror. Instead, “The Shrouds” is a thoughtful exploration of grief and technology, and though there are several gross-out moments, the film relies on emotion more than anything.
“This is the first time I’ve seen the movie with an audience, and it’s completely different,” Cronenberg said after the clapping died down. “I’m very happy that you are all here.”
Described as an arthouse horror film, “The Shrouds” stars Vincent Cassel, Diane Kruger, Guy Pearce and Sandrine Holt.
The crowd showed their respect for the Cannes legend with applause after the credits rolled, but it was lackluster as audience members digested the film, which is a departure from Cronenberg’s usual out-of-the-box body horror. Instead, “The Shrouds” is a thoughtful exploration of grief and technology, and though there are several gross-out moments, the film relies on emotion more than anything.
“This is the first time I’ve seen the movie with an audience, and it’s completely different,” Cronenberg said after the clapping died down. “I’m very happy that you are all here.”
Described as an arthouse horror film, “The Shrouds” stars Vincent Cassel, Diane Kruger, Guy Pearce and Sandrine Holt.
- 5/20/2024
- by Ellise Shafer
- Variety Film + TV
When his wife died, Karsh tells the blind date he has asked to lunch, he had an overwhelming urge to jump into the coffin with her rather than see her sent away alone. Instead, he contrived a way to straddle the worlds of the living and the dead, setting up a luxury cemetery where the dead are wrapped in metallic shrouds that are like camera blankets. Above ground, there are screens over each grave on which you can watch your loved one disintegrating.
Welcome to Gravetech, the latest of Canadian director David Cronenberg’s sinister institutions, and welcome to The Shrouds, Cronenberg’s latest feature to debut in competition at the Cannes Film Festival.
Over the four years since she died, the painfully bereaved Karsh (Vincent Cassel) has been checking in to see his wife Becca’s body – already crumbling with cancer before she passed – rot down to the bone.
Welcome to Gravetech, the latest of Canadian director David Cronenberg’s sinister institutions, and welcome to The Shrouds, Cronenberg’s latest feature to debut in competition at the Cannes Film Festival.
Over the four years since she died, the painfully bereaved Karsh (Vincent Cassel) has been checking in to see his wife Becca’s body – already crumbling with cancer before she passed – rot down to the bone.
- 5/20/2024
- by Stephanie Bunbury
- Deadline Film + TV
Inspired by the loss of the director’s wife, “The Shrouds” is a grief story as only David Cronenberg would ever think to shoot one: Sardonic, unsentimental, and often so cadaverously stiff that the film itself appears to be suffering from rigor mortis, as if its images died at some point along their brief journey from the projector to the screen. And really, what else would you expect? I suppose it’s possible that the story’s deeply personal context might have spurred Cronenberg to push against the tender sterility of his recent features, or even dare to expose the soft underbelly that’s always been hiding inside his tumorous body of work and its many layers of scary-beautiful new flesh. If so, it almost immediately becomes clear that he had zero interest in accepting that invitation.
A quintessentially late film from an artist who’s always been ahead of his time,...
A quintessentially late film from an artist who’s always been ahead of his time,...
- 5/20/2024
- by David Ehrlich
- Indiewire
“How dark do you want to go?” The man asking that is named Karsh (Vincent Cassel), and he’s seated in a minimalist art-chic restaurant having lunch with a blind date. The one who’s really asking the question, though, is David Cronenberg, writer-director of “The Shrouds.” He’s been asking that question — to audiences — for his entire career, and to him the answer has always been the same: The darker the better.
Yet Cronenberg has a special brand of dark. In “The Shrouds,” Karsh is a businessman who produces industrial videos, with a sleek Toronto apartment that looks out at the Cn Tower, but he’s also a co-owner of the restaurant they’re sitting in, and the purveyor of what’s in the garden next to it: a cemetery where the gravestones are technological devices, and the corpses are draped in futuristic shrouds that allow you to peer...
Yet Cronenberg has a special brand of dark. In “The Shrouds,” Karsh is a businessman who produces industrial videos, with a sleek Toronto apartment that looks out at the Cn Tower, but he’s also a co-owner of the restaurant they’re sitting in, and the purveyor of what’s in the garden next to it: a cemetery where the gravestones are technological devices, and the corpses are draped in futuristic shrouds that allow you to peer...
- 5/20/2024
- by Owen Gleiberman
- Variety Film + TV
German Films celebrated its 70th anniversary at Cannes on Sunday, with its guests looking back but also looking forward.
“It has gotten much better,” Managing Director Simone Baumann told Variety at the event.
“We’ve had Oscar-winning ‘All Quiet on the Western Front,’ Oscar-nominated ‘The Teachers’ Lounge’ [for best international feature], films by Wim Wenders and with Sandra Hüller! Sure, Wim showed a Japanese movie and Sandra a French one [‘Perfect Days’ and ‘Anatomy of a Fall’], but it doesn’t matter: It’s more ‘mixed’ these days and I am proud of it, to be honest.”
At Cannes, 14 German productions and co-productions have been selected this year, including Match Factory’s main competition offerings “Motel Destino” by Karim Aïnouz – who also attended the bash – and Miguel Gomes’ “Grand Tour.” Run Way Pictures is behind Mohammad Rasoulof’s anticipated “The Seed of the Sacred Fig.”
As festivals get “more competitive,” underlines Baumann, international collabs are here to stay.
“It has gotten much better,” Managing Director Simone Baumann told Variety at the event.
“We’ve had Oscar-winning ‘All Quiet on the Western Front,’ Oscar-nominated ‘The Teachers’ Lounge’ [for best international feature], films by Wim Wenders and with Sandra Hüller! Sure, Wim showed a Japanese movie and Sandra a French one [‘Perfect Days’ and ‘Anatomy of a Fall’], but it doesn’t matter: It’s more ‘mixed’ these days and I am proud of it, to be honest.”
At Cannes, 14 German productions and co-productions have been selected this year, including Match Factory’s main competition offerings “Motel Destino” by Karim Aïnouz – who also attended the bash – and Miguel Gomes’ “Grand Tour.” Run Way Pictures is behind Mohammad Rasoulof’s anticipated “The Seed of the Sacred Fig.”
As festivals get “more competitive,” underlines Baumann, international collabs are here to stay.
- 5/20/2024
- by Marta Balaga
- Variety Film + TV
On Sunday at Cannes, Diane Kruger put her star power behind a worthy cause, attending the ‘Transcending Borders’ gala at the Campari Lounge hosted by Breaking Through the Lens—an organization that works to support female filmmakers.
“I know first hand how incredibly difficult it is as a woman in this industry,” Kruger told Deadline. “Even though we’ve made strides, obviously, in the industry. But [this organization] really just resonated to me and I think more than ever, it’s a time to hear female voices. Even this year alone in Cannes, we’ve heard the uprising of the #MeToo movement, but it’s not just that. It’s also just telling our stories, and so I think that’s incredibly important.”
Kruger is at the Cannes Film Festival with David Cronenberg’s film The Shrouds, which will premiere in Competition on Monday. “I’m starting to be actually a little nervous,...
“I know first hand how incredibly difficult it is as a woman in this industry,” Kruger told Deadline. “Even though we’ve made strides, obviously, in the industry. But [this organization] really just resonated to me and I think more than ever, it’s a time to hear female voices. Even this year alone in Cannes, we’ve heard the uprising of the #MeToo movement, but it’s not just that. It’s also just telling our stories, and so I think that’s incredibly important.”
Kruger is at the Cannes Film Festival with David Cronenberg’s film The Shrouds, which will premiere in Competition on Monday. “I’m starting to be actually a little nervous,...
- 5/19/2024
- by Antonia Blyth
- Deadline Film + TV
Strange but true: after 15 years as an international movie star, propelled to fame in 2004 by Wolfgang Petersen’s historical epic Troy, German-born Diane Kruger won the Best Actress award in Cannes for her first-ever performance in her native language. Fatih Akin’s provocative 2017 drama In the Fade, in which she played a widow consumed by revenge after a terror attack, revealed an unexpectedly tough new side of her glamorous persona.
This year she returns to Cannes starring alongside Vincent Cassel in David Cronenberg’s The Shrouds, a very different, and for its director highly personal film about the very same subject, love and loss, following his own wife’s death in 2017. This typically Cronenbergian plot centers on Karsh (Cassel), a businessman and grieving widower who creates a device to connect with the dead, using a high-tech burial shroud. This burial tool — installed at his own state-of-the-art but controversial cemetery — allows...
This year she returns to Cannes starring alongside Vincent Cassel in David Cronenberg’s The Shrouds, a very different, and for its director highly personal film about the very same subject, love and loss, following his own wife’s death in 2017. This typically Cronenbergian plot centers on Karsh (Cassel), a businessman and grieving widower who creates a device to connect with the dead, using a high-tech burial shroud. This burial tool — installed at his own state-of-the-art but controversial cemetery — allows...
- 5/19/2024
- by Damon Wise
- Deadline Film + TV
David Cronenberg is returning to Cannes with “The Shrouds,” the story of an industrialist named Karsh, who invents a controversial technology that allows grieving families to see inside the graves of their loved ones with high-resolution cameras.
It’s a film that defies easy categorization. This being a Cronenberg production, there are elements of body horror, but there’s also a conspiracist undercurrent, as Karsh (Vincent Cassel) begins to suspect that shadowy forces are undercutting his expansion plans after his cemetery is ransacked. He has his own reasons for developing his business. Karsh’s wife died after a brutal fight with cancer, leaving him inconsolable. He begins to question if her death may be part of a larger plot by the medical establishment.
The material has personal resonance for Cronenberg as well. His wife, Carolyn Cronenberg, died from cancer at the age of 66, and the unyielding grief that he felt...
It’s a film that defies easy categorization. This being a Cronenberg production, there are elements of body horror, but there’s also a conspiracist undercurrent, as Karsh (Vincent Cassel) begins to suspect that shadowy forces are undercutting his expansion plans after his cemetery is ransacked. He has his own reasons for developing his business. Karsh’s wife died after a brutal fight with cancer, leaving him inconsolable. He begins to question if her death may be part of a larger plot by the medical establishment.
The material has personal resonance for Cronenberg as well. His wife, Carolyn Cronenberg, died from cancer at the age of 66, and the unyielding grief that he felt...
- 5/18/2024
- by Brent Lang
- Variety Film + TV
“I took it hard. I wanted it to be special for him,” says Diane Kruger of performing in David Cronenberg’s The Shrouds, a film the legendary director wrote as part of his grieving process after the death of his late wife, Carolyn.
The Shrouds, which is screening in competition in Cannes, follows Karsh (Vincent Cassel), a prominent businessman and widower who, inconsolable since the death of his wife, invents a revolutionary and controversial technology that enables the living to monitor their departed loved ones in their graves. Kruger plays three roles — that of the late wife and her sister, as well as a virtual avatar that is a rendering in CG animation.
“One thing [David] said to me, which I think Vincent says in the film, is that when his wife passed and they put her in a coffin, he had this horrible, horrible urge to jump in with her...
The Shrouds, which is screening in competition in Cannes, follows Karsh (Vincent Cassel), a prominent businessman and widower who, inconsolable since the death of his wife, invents a revolutionary and controversial technology that enables the living to monitor their departed loved ones in their graves. Kruger plays three roles — that of the late wife and her sister, as well as a virtual avatar that is a rendering in CG animation.
“One thing [David] said to me, which I think Vincent says in the film, is that when his wife passed and they put her in a coffin, he had this horrible, horrible urge to jump in with her...
- 5/18/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
As the Cannes Film Festival kicks off its 2024 edition, the world’s attention will be on some of the most anticipated films and directors descending on the Croisette. This year’s lineup promises a diverse array of powerful narratives and fresh perspectives. Here are the standout titles we’re keeping a close eye on: The Shrouds by Francis Ford Coppola Coppola’s latest project, Megalopolis, starring notable faces like Adam Driver and Nathalie Emmanuel, is set to premiere at Cannes. Described as an epic sci-fi endeavor, this film is not just a return for Coppola but also a monumental event for cinema, given
The post Screen Talks Cannes 2024 Movies to Watch first appeared on TVovermind.
The post Screen Talks Cannes 2024 Movies to Watch first appeared on TVovermind.
- 5/17/2024
- by Steve Delikson
- TVovermind.com
It seems like at some point, every major director has thoughts on retirement. Whether they refuse to do so or have a set number of movies in their head, it’s like they can’t avoid the subject. Now in his 80s and with more than five decades in the industry, David Cronenberg is certainly no different. While his latest film, The Shrouds, vies for the Palme d’Or at the Cannes Film Festival, Cronenberg is contemplating what his next move will be.
Sitting down with The Hollywood Reporter, David Cronenberg – who has tinkered with the idea of retirement before – acknowledged that the topic is almost embedded in the field. “It’s a real impulse because filmmaking is hard, very hard. And there comes a time — and it doesn’t have to be because you’re older — where you think, ‘Maybe there’s some other things I could do that...
Sitting down with The Hollywood Reporter, David Cronenberg – who has tinkered with the idea of retirement before – acknowledged that the topic is almost embedded in the field. “It’s a real impulse because filmmaking is hard, very hard. And there comes a time — and it doesn’t have to be because you’re older — where you think, ‘Maybe there’s some other things I could do that...
- 5/17/2024
- by Mathew Plale
- JoBlo.com
David Cronenberg shocked the cinema world two years ago when he came out of retirement and showed up at the Cannes Film Festival with a new film, “Crime Of The Future.” 2014’s “Map To The Stars,” which also had a Cannes premiere, was initially supposed to be Cronenberg’s last. Now, will the Canadian auteur’s latest, “The Shrouds,” be his swan song?
Continue reading ‘The Shrouds’: David Cronenberg Remains Uncertain If His Latest Film Will Be His Last: “I Really Don’t Know” at The Playlist.
Continue reading ‘The Shrouds’: David Cronenberg Remains Uncertain If His Latest Film Will Be His Last: “I Really Don’t Know” at The Playlist.
- 5/17/2024
- by Ned Booth
- The Playlist
Léa Seydoux’s latest feature will be distributed by Neon.
Seydoux stars in “The Unknown (L’Inconnue),” which will be written and directed by Academy Award-winning “Anatomy of a Fall” screenwriter Arthur Harari. The plot details for the film are still under wraps, with production looking to be completed in early 2026.
Neon will release the film in U.S. and Canadian theaters. “The Unknown” will be produced by Bathysphere, with Pathé co-producing and selling the film internationally in Cannes.
“The Unknown” is the third feature both written and directed by Harari. He previously directed “Onoda: 10,000 Nights in the Jungle,” which opened Un Certain Regard at Cannes and went on to win numerous awards including the Best Original Screenplay César. He also wrote the screenplay for “Sibyl,” which was directed by “Anatomy of a Fall’s” Justine Triet.
The deal for “The Unknown” was negotiated by Neon’s President of...
Seydoux stars in “The Unknown (L’Inconnue),” which will be written and directed by Academy Award-winning “Anatomy of a Fall” screenwriter Arthur Harari. The plot details for the film are still under wraps, with production looking to be completed in early 2026.
Neon will release the film in U.S. and Canadian theaters. “The Unknown” will be produced by Bathysphere, with Pathé co-producing and selling the film internationally in Cannes.
“The Unknown” is the third feature both written and directed by Harari. He previously directed “Onoda: 10,000 Nights in the Jungle,” which opened Un Certain Regard at Cannes and went on to win numerous awards including the Best Original Screenplay César. He also wrote the screenplay for “Sibyl,” which was directed by “Anatomy of a Fall’s” Justine Triet.
The deal for “The Unknown” was negotiated by Neon’s President of...
- 5/17/2024
- by Samantha Bergeson
- Indiewire
Hollywood actors had barely inked a new labor deal with major studios and streamers last November when the lights in Ontario film studios flickered on and local talent and technical crews eyed a quick return to work on American shoots.
But the homecoming for Hollywood after the grueling SAG-AFTRA strike has hardly gone as envisioned in the Canadian province, which is known for doubling for U.S. locales such as New York, Boston, and Georgia. According to Ontario production insiders, the province that once defied gravity as a booming production hub for Hollywood has come back down to earth, with production slower than expected and lower budgets on projects that are filming there.
“It’s been a slower ramp-up in business than most anticipated. But we’re starting to see a pretty good increase in business, especially in the past few weeks,” says Garin Josey, chief operating officer of Sunbelt Rentals Film & TV,...
But the homecoming for Hollywood after the grueling SAG-AFTRA strike has hardly gone as envisioned in the Canadian province, which is known for doubling for U.S. locales such as New York, Boston, and Georgia. According to Ontario production insiders, the province that once defied gravity as a booming production hub for Hollywood has come back down to earth, with production slower than expected and lower budgets on projects that are filming there.
“It’s been a slower ramp-up in business than most anticipated. But we’re starting to see a pretty good increase in business, especially in the past few weeks,” says Garin Josey, chief operating officer of Sunbelt Rentals Film & TV,...
- 5/17/2024
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The body, as any fan of David Cronenberg’s cinema knows, will betray you. Canada’s greatest gift to genre film has spent half a century exploring how treacherous the human organism can be. How our frail frames can be infected, mutated or corrupted by outside invasion — see Rabid, Shivers or The Fly — or by internal disruption, be it mental illness (Spider), addiction (Dead Ringers, Naked Lunch) or destructive desire (Crash). And technology, be it the VHS implants in Videodrome, the virtual reality of eXistenZ or the body enhancements of Crimes of the Future, will not save us, says Cronenberg, from the way of all flesh.
The body’s final betrayal, of course, is death, the subject of Cronenberg’s new film. The Shrouds, which will premiere May 20 in competition at the Cannes Film Festival, stars Vincent Cassel as Karsh, a businessman overwhelmed with grief at the death of his...
The body’s final betrayal, of course, is death, the subject of Cronenberg’s new film. The Shrouds, which will premiere May 20 in competition at the Cannes Film Festival, stars Vincent Cassel as Karsh, a businessman overwhelmed with grief at the death of his...
- 5/17/2024
- by Etan Vlessing and Scott Roxborough
- The Hollywood Reporter - Movie News
TIFF is expanding its industry influence with the launch of an official content market, designed as a central hub for buying and selling screen-based projects, intellectual property, and immersive and innovative content across all platforms.
TIFF CEO Cameron Bailey and chief programming officer Anita Lee made the announcement on Thursday in Cannes, revealing that the market is in development thanks to a Cad $23 million investment from the Canadian federal government.
“What we’ve heard from the international industry at large is that TIFF is increasingly becoming a significant gateway to North America,” Lee told Variety, sitting down for an interview just a few hundred kilometers away from Cannes’ Marche du Film, which was an inspiration for TIFF’s version. “We have a fantastic culturally diverse, young, sophisticated audience. What the official market will allow us to do is create a hub and infrastructure for companies, producers, to come in from all around the world,...
TIFF CEO Cameron Bailey and chief programming officer Anita Lee made the announcement on Thursday in Cannes, revealing that the market is in development thanks to a Cad $23 million investment from the Canadian federal government.
“What we’ve heard from the international industry at large is that TIFF is increasingly becoming a significant gateway to North America,” Lee told Variety, sitting down for an interview just a few hundred kilometers away from Cannes’ Marche du Film, which was an inspiration for TIFF’s version. “We have a fantastic culturally diverse, young, sophisticated audience. What the official market will allow us to do is create a hub and infrastructure for companies, producers, to come in from all around the world,...
- 5/16/2024
- by Angelique Jackson
- Variety Film + TV
Details on Jim Jarmusch‘s surprise new film project have finally been revealed, and it’s a family affair.
Paparazzi photos from the set made the rounds in January, showing Cate Blanchett filming an outdoor scene with Vicky Krieps (in a pink wig) but little was known about the project at the time as Jarmusch tends to keep things closely guarded. However, on Thursday in Cannes the Match Factory confirmed that it had boarded the project and will handle international sales during the film festival while Jarmusch completes postproduction back in New York.
The film is titled Father Mother Sister Brother and features some of his trusted collaborators. The cast includes Blanchett, Krieps, Adam Driver, Mayim Bialik, Tom Waits, Charlotte Rampling, Indya Moore and Luka Sabbat. Per official intel received by The Hollywood Reporter, Father Mother Sister Brother is described as “a feature film in the form of a triptych.
Paparazzi photos from the set made the rounds in January, showing Cate Blanchett filming an outdoor scene with Vicky Krieps (in a pink wig) but little was known about the project at the time as Jarmusch tends to keep things closely guarded. However, on Thursday in Cannes the Match Factory confirmed that it had boarded the project and will handle international sales during the film festival while Jarmusch completes postproduction back in New York.
The film is titled Father Mother Sister Brother and features some of his trusted collaborators. The cast includes Blanchett, Krieps, Adam Driver, Mayim Bialik, Tom Waits, Charlotte Rampling, Indya Moore and Luka Sabbat. Per official intel received by The Hollywood Reporter, Father Mother Sister Brother is described as “a feature film in the form of a triptych.
- 5/16/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
Sophomore slump? Not for Saint Laurent Productions.
One year after a high-profile splash with its debut film project — Pedro Almodóvar’s gay cowboy Western Strange Way of Life — the luxury house’s production division returns to the Cannes Film Festival with three starry films in the main competition: Jacques Audiard’s Emilia Perez, David Cronenberg’s The Shrouds and Paolo Sorrentino’s Parthenope.
Saint Laurent creative director Anthony Vaccarello is credited as a producer on the pics, and he and his team delivered cast wardrobes. Emilia Perez stars Zoe Saldaña, Selena Gomez and Édgar Ramírez in the story of a lawyer who receives an unexpected offer to help a feared cartel boss disappear by becoming the woman he’s always dreamed of being.
The Shrouds stars Vincent Cassel, Diane Kruger, Guy Pearce and Sandrine Holt, and follows a businessman who, after the death of his wife, copes by inventing a...
One year after a high-profile splash with its debut film project — Pedro Almodóvar’s gay cowboy Western Strange Way of Life — the luxury house’s production division returns to the Cannes Film Festival with three starry films in the main competition: Jacques Audiard’s Emilia Perez, David Cronenberg’s The Shrouds and Paolo Sorrentino’s Parthenope.
Saint Laurent creative director Anthony Vaccarello is credited as a producer on the pics, and he and his team delivered cast wardrobes. Emilia Perez stars Zoe Saldaña, Selena Gomez and Édgar Ramírez in the story of a lawyer who receives an unexpected offer to help a feared cartel boss disappear by becoming the woman he’s always dreamed of being.
The Shrouds stars Vincent Cassel, Diane Kruger, Guy Pearce and Sandrine Holt, and follows a businessman who, after the death of his wife, copes by inventing a...
- 5/16/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
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